{"version":"1.0","provider_name":"mdwPress","provider_url":"https:\/\/www.mdw.ac.at\/mdwpress","author_name":"Max Bergmann","author_url":"https:\/\/www.mdw.ac.at\/mdwpress\/author\/bergmann-max\/","title":"4.7\u00a0\u00c4sthetiken des Dissoziativen &#8211; mdwPress","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"vexw5i4PdQ\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/4-7-aesthetiken-des-dissoziativen\/\">4.7\u00a0\u00c4sthetiken des Dissoziativen<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/4-7-aesthetiken-des-dissoziativen\/embed\/#?secret=vexw5i4PdQ\" width=\"600\" height=\"338\" title=\"&#8222;4.7\u00a0\u00c4sthetiken des Dissoziativen&#8220; &#8211; mdwPress\" data-secret=\"vexw5i4PdQ\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.mdw.ac.at\/mdwpress\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","description":"Das ikonografische Zitat der Pronomosvase, das Jelinek in die Online\u2010Publikation von Schnee Wei\u00df einarbeitet, beschw\u00f6rt nicht nur den genuin performativen Impetus von Jelineks Theatertexten. Es stellt dar\u00fcber hinaus ein Scharnier dar, das die beiden in Schnee Wei\u00df zitierten antiken Pr\u00e4texte Die Bakchen und Die Satyrn als Sp\u00fcrhunde miteinander verbindet. Wie Mark Griffith anschaulich demonstriert hat, &hellip;","thumbnail_url":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/02\/Abb.-14_Felber.jpg"}